iberian crossfade
Three Pieces for Orchestra
// Filed in: orchestral music
Three Pieces for Orchestra (2008)
Instrumentation: 2(2nd dbl. Picc).2(2nd dbl. E.H.).2(2nd dbl. B.Cl.).2/4.2.0.0/Timp./1 Perc./Strings/
Duration: circa 15 minutes
Copyrights: work registered with BMI
Mov I, The Headless Horsemen’s Dream
premiered by Berkeley Symphony Orchestra, conducted by Paul Haas; live recording.
Mov II, How To Make a Coup D´État in Three Easy Steps
premiered by Berkeley Symphony Orchestra, conducted by Joana Carneiro; live recording
Mov. III, Iberian Crossfade
premiered by Berkeley Symphony Orchestra, conducted William Eddins;
live recording by Memphis Symphony Orchestra, conducted by David Loebel
Program Notes:
The Headless Horsemen's Dream - A movement composed as if a short theater-play. After an introduction (the opening of the curtains), the musical character shifts from wild and exuberant to introspective and idyllic states, followed then, by the final drop of the curtain.
The middle section, the actual play itself, has a dream-like character, a sound metaphor for making the impossible possible.
How to Make a Coup D'Etat in Three Easy Steps - A piece where the fast succession of sections is accompanied by the mutation of stylistic traits: the ruling principles of a given section are deposed upon the arrival of a new set of materials. Within the trajectory of each section, the listener can perceive a curve of stylistic change. Furthermore, the overall trajectory of the movement is in itself a larger example of the same idea, driving the concept of style mutation from the beginning (figurative) to the end (geometric/abstract gestures). Transition between musical scenes represent “transfer of powers” between the ruling procedures in use and by the actual orchestration. These transitions of power range from rather smooth to rather abrupt - the coup d´état.
Iberian Crossfade - Iberian Crossfade assumes story-telling as a polyphony of narratives, i.e., not just one story line, but several. The perception of these narratives changes according to their function and surroundings. Similar class-objects are to be heard thorughout the movement shifting in function as they evolve from foreground to background elements, or vice-versa.
Parts available for rental. Contact us.
Instrumentation: 2(2nd dbl. Picc).2(2nd dbl. E.H.).2(2nd dbl. B.Cl.).2/4.2.0.0/Timp./1 Perc./Strings/
Duration: circa 15 minutes
Copyrights: work registered with BMI
Mov I, The Headless Horsemen’s Dream
premiered by Berkeley Symphony Orchestra, conducted by Paul Haas; live recording.
Mov II, How To Make a Coup D´État in Three Easy Steps
premiered by Berkeley Symphony Orchestra, conducted by Joana Carneiro; live recording
Mov. III, Iberian Crossfade
premiered by Berkeley Symphony Orchestra, conducted William Eddins;
live recording by Memphis Symphony Orchestra, conducted by David Loebel
Program Notes:
The Headless Horsemen's Dream - A movement composed as if a short theater-play. After an introduction (the opening of the curtains), the musical character shifts from wild and exuberant to introspective and idyllic states, followed then, by the final drop of the curtain.
The middle section, the actual play itself, has a dream-like character, a sound metaphor for making the impossible possible.
How to Make a Coup D'Etat in Three Easy Steps - A piece where the fast succession of sections is accompanied by the mutation of stylistic traits: the ruling principles of a given section are deposed upon the arrival of a new set of materials. Within the trajectory of each section, the listener can perceive a curve of stylistic change. Furthermore, the overall trajectory of the movement is in itself a larger example of the same idea, driving the concept of style mutation from the beginning (figurative) to the end (geometric/abstract gestures). Transition between musical scenes represent “transfer of powers” between the ruling procedures in use and by the actual orchestration. These transitions of power range from rather smooth to rather abrupt - the coup d´état.
Iberian Crossfade - Iberian Crossfade assumes story-telling as a polyphony of narratives, i.e., not just one story line, but several. The perception of these narratives changes according to their function and surroundings. Similar class-objects are to be heard thorughout the movement shifting in function as they evolve from foreground to background elements, or vice-versa.
Parts available for rental. Contact us.